Anime is a visual enigma. Its otherworldly allure and burgeoning popularity across the globe highlights its unique ability to be more than just another type of animation. Originally a novelty export from post-war Japan, anime has now become a subtle yet important part of Western popular culture. Furthermore, it remains a key area of audience and fan research that crosses all generations – children, teenagers, and adults. From Osamu Tezuka to Hayao Miyazaki, Akira (Katsuhiro Ôtomo, 1988) to Ghost in the Shell (Mamoru Oshii, 1995), anime’s extraordinary characters and oneiric content still enable it to be regarded as one of the most awe-inspiring visual spectacles going into and during the twenty-first century.
Keenly aware of anime’s rich history, cultural and global context, and increasing presence and influence on Western art, literature and film, the theme of this issue of Cinephile is ‘Reassessing Anime.’ The six articles included herein aim to address and tackle some of the overlooked aspects of anime. Such a reassessment by each author hopes to encourage future academic scholarship into the evolution and value of anime and, moreover, its impact not only on film but also on TV, comic books, video games, music videos, and corporate marketing strategies. [Jonathan A. Cannon, Editor’s Note, Cinephile, ‘Reassessing Anime’, 7.1, 2011. FSFF‘s hyperlinks]
Film Studies For Free is delighted to announce that the Spring 2011 issue of Cinephile, the excellent film journal edited out of the University of British Columbia, Canada, has just been made available for download for free as a single PDF file.
As signalled above, this issue is dedicated to “Reassessing Anime” and it features great, original articles by internationally renowned animation scholars Paul Wells and Philip Brophy, as well as illustrations by Vancouver-based artist Chloe Chan.
The issue’s table of contents is given below, and below that, FSFF has also provided a handy, clickable index of its own popular posts on anime and Japanese cinema.
The latest issue of Cinephile, available for purchase now, is on Contemporary Realism. It features original articles by Ivone Margulies and Richard Rushton. There is also a call for papers on “The Voice Over”.
- ‘Playing the Kon Trick: Between Dates, Dimensions and Daring in the films of Satoshi Kon’ by Paul Wells
- ‘The Sound of an Android’s Soul: Music, Muzak and MIDI in Time of Eve‘ by Philip Brophy
- ‘Beyond Maids and Meganekko: Examining the Moe Phenomenon’ by Michael R. Bowman
- ‘Reviewing the ‘Japaneseness’ of Japanese Animation: Genre Theory and Fan Spectatorship’ by Jane Leong
- ‘The Higurashi Code: Algorithm and Adaptation in the Otaku Industry and Beyond’ by John Wheeler
- ‘Mamoru Oshii’s Ghost in the Shell 2: Innocence: Thinking Before the Act’ by Frédéric Clément
- On Japanese Cinema July 27, 2010
- Dreaming Movies: RIP Satoshi Kon (1963-2010) August 25, 2010
- ‘Imaginary and Fantastic’: Hayao Miyazaki Studies November 25, 2009
- Animation Studies: Three Fabulous Online Resources November 14, 2011
- Mickey Mouse and Animation Links November 18, 2008
- War, Conflict and Commemoration in the Age of Digital Reproduction December 6, 2010
Animation has an unlimited potential to visually represent events, scenarios and forms that have little or no relation to our experience of the ‘real’ world. Implemented in many ways, in many disciplines, it is increasingly influencing our perception and experience of the world we live in. This timely and groundbreaking international conference unites speakers from a wide range of research agendas and creative practices. It facilitates much-needed dialogue centred on the ubiquitous and interdisciplinary nature of animation, its potentially radical future development, and its ethical responsibilities for spatial politics in moving image culture. The conference’s contributors include Norman Klein, Michael Snow, Vivian Sobchack, Tom Gunning, Anthony McCall, George Griffin, Suzanne Buchan, Beatriz Colomina, Edwin Carels, Siegfried Zielinski, Lisa Cartwright, Johnny Hardstaff and Esther Leslie. Especially since the digital shift, the uses of animation are no longer exclusive to cinema, and animation’s origins in pre-cinematic optical experiments through avant-garde experimental film continue to evolve in fascinating ways. Artists increasingly incorporate animation in installations and exhibitions, architects use computer animation software to create narratives of space in time, and scientists use it to interpret abstract concepts for a breadth of industries ranging from biomedicine to nanoworlds. Pervasive Animation provides a dynamic international forum to explore animation’s myriad forms and applications across a wide band of creative and professional practice. Organised by Suzanne Buchan, Reader in Animation Studies and Director of the Animation Research Centre at the University College for the Creative Arts, and Stuart Comer, Curator of Film at Tate.
Film Studies For Free animatedly highlights three fabulous Animation Studies resources today. First up, through the second of the two videos embedded above, you can access the entire, recorded proceedings of a very high quality conference on animation held in 2007 at London’s Tate Modern.
FSFF heard about those videos through the fantastic Experimental Animation website which houses, and links to, many more animation treasures, like Lignes verticales/Lines Vertical, Norman McLaren and Evelyn Lambart‘s brilliant 1960 opus embedded at the top of this post.
Finally, the third amazing resource du jour are the below contents of the volumes of Animation Studies, the online, Open Access and peer-reviewed Journal of the Society for Animation Studies (also on Twitter as @anistudies). See also the Society’s Call for Papers for an upcoming conference at the foot of this post.
- Volume 6, 2011
- Shannon Brownlee – Masculinity Between Animation and Live Action, or, SpongeBob v. Hasselhoff
- Maria O’Brien – The Secret of Kells (2009), a film for a post Celtic Tiger Ireland?
- Aimee Mollaghan – “An Experiment in Pure Design:” The Minimalist Aesthetic in the Line Films of Norman McLaren
- Hannes Rall – Tradigital Mythmaking: New Asian Design Ideas for Animation
- Colleen Montgomery – Woody’s Roundup and Wall-E’s Wunderkammer: Technophilia and Nostalgia in Pixar Animation
- Pierre Floquet – Actors in Sin City’s Animated Fantasy: Avatars, Aliens, or Cinematic Dead-ends?
- Volume 5, 2010
- Van Norris – Touching cloth…Considering Satire and the Clergy in Popular Contemporary British Animation
- Alison Loader – We’re Asian, More Expected of Us:Representation, The Model Minority & Whiteness on King of the Hill
- Meg Rickards – Uncanny breaches, flimsy borders: Jan Švankmajer’s conscious and unconscious worlds
- María Lorenzo Hernández – Through the Looking-Glass: The Self-Portrait of the Artist and the Re-Start of Animation
- Michael S. Daubs – Subversive or Submissive? User-Produced Flash Cartoons and Television Animation
- Volume 4, 2009
- Adam de Beer – Kinesic constructions: An aesthetic analysis of movement and performance in 3D animation
- Sheuo Hui Gan – To Be or Not to Be – Anime: The Controversy in Japan over the “Anime” Label
- Max Bannah – Revolutionary cels: The Sydney waterfront, Harry Reade and Cuban animation
- Paul St. George – Using chronophotography to replace Persistence of Vision as a theory for explaining how animation and cinema produce the illusion of continuous motion
- Alan Cholodenko – Animation (Theory) as the Poematic
- Volume 3, 2008
- Van Norris – Taking an Appropriate Line
- Laura Ivins-Hulley – The Ontology of Performance in Stop Animation
- Alan Cholodenko – The Spectre in the Screen
- Timo Linsenmaier – Why animation historiography?
- María Lorenzo Hernández – Visions of a Future Past: Ulysses 31, a Televised Re-interpretation of Homer’s Classic Myth
- Birgitta Hosea – TV 2.0: Animation Readership/Authorship on the Internet
- Lynne Perras – “Steadier, happier, and quicker at the work”? Women in Canadian Animation
- Sheuo Hui Gan – The Newly Developed Form of Ganime and its Relation to Selective Animation1 for Adults in Japan
- Amy Ratelle – Half-breed Dog, Half-breed Film: Balto as Animelodrama
- Animated Dialogues, 2007
- Amanda Third and Dirk de Bruyn – An Animated Dialogue
- Paul Wells – Battlefields for the Undead
- Adrian Martin – In the Sand a Line is Drawn: A Reflection on Animation Studies
- Alan Cholodenko – (The) Death (of) the Animator, or: the Felicity of Felix, Part I
- Dirk de Bruyn – Performing a Traumatic Effect: The Films of Robert Breer
- Michael Broderick – Superflat Eschatology: Renewal and Religion in anime
- Katharine Buljan – The Uncanny and the Robot in the Astro Boy Episode “Franken”
- Matthew Butler and Lucie Joschko – Final Fantasy or The Incredibles
- Cordelia Brown – Flowerpot Men: The Haptic Image in Brian Cosgrove and Richard Hall’s Animations
- Andrew Buchanan – Facial Expressions for Empathic Communication of Emotion in Animated Characters
- Peter Moyes – Behind the Flash Exterior: Scratching the Surface of Online Animated Narratives
- Cathryn Vasseleu – The Svankmajer Touch
- Miriam Harris – How Michaela Pavlatova both incorporates and rebels against the Czech animation tradition
- Zhi-Ming Su – Reaching Out to Touch: Animation and Aboriginal Children in Taiwan
- Dan and Lienors Torre – Recording Australian Animation History
- Volume 2, 2007
- Gunnar Strøm – The Two Golden Ages of Animated Music Video
- Pamela Turner – Early Connections Between Film and Emerging Media as Evidenced in the Animated Worlds of Adam Beckett
- Maria Lorenzo Hernandez – The Double Sense of Animated Images. A View on the Paradoxes of Animation as a Visual Language
- Leslie Bishko – The Uses and Abuses of Cartoon Style in Animation
- Caroline Ruddell – Breaking Boundaries: The Representation of Split Identity in Anime
- Alan Cholodenko – (The) Death (of) the Animator, or: The Felicity of Felix, Part II
- Tom Klein – Animated Appeal: A Survey of Production Methods in Children’s Software
- Volume 1, 2006
- Pierre Floquet – What is (not) so French in Les Triplettes de Belleville
- Marina Estela Graça – Cinematic Motion by Hand
Date: June 25-27, 2012
Hosted by: RMIT University
Location: Melbourne, Victoria, Australia
Keynote speakers include:
• Thomas Lamarre (McGill University, Canada)
• Tomotaka Takahashi (The University of Tokyo, Japan)
The Society for Animation Studies (SAS) invites submissions of proposals for individual papers and panels for its 24th Annual Conference, which will be held in Melbourne, Australia at RMIT University, 25-27 June 2012.
Animation production and consumption has continued to grow as animation itself has become ever more prevalent and visible in recent years. In parallel, the field of animation studies has expanded excitingly and dramatically, bringing together scholars from a variety of disciplines.
The theme of this year’s conference, ‘The Animation Machine’, reflects the wide range of processes, technologies, histories and structures in animation. As movement is an essential aspect of animation, whatever creates that movement may constitute an animation machine and one could conceive that animation is itself a machine. The animation machine can be considered from both the production process and the end product. Therefore, it refers to the machines of animation presentation, be these pre-20th century animation devices, movie or video screens, or even automata. The animation machine also relates to the multitude of animation production processes – from animating technologies (animation stands, cameras, computers), through to the animator’s individual creative practice. Ultimately, the animation machine can be described quite broadly and we welcome your own interpretations.
With the centenary of Australian animation approaching, the 2012 conference will also provide an opportunity to highlight some of Australia’s animation heritage. The conference will coincide with the Melbourne International Animation Festival (MIAF) and a number of crossover events are planned.
We invite proposals on a wide range of animation topics on all aspects of animation history, theory and criticism for 20-minute conference presentations. Proposals may include (but are not limited to) the following topics:
• Australian Animation
• Animation and the Asia-Pacific Region
• Animation Histories
• Future Forms of Animation
• Industrial Methods and Changes
• Materiality of Animation
• Algorithmic Animation (including Games)
• Philosophy and Animation
• Motion Graphics
• Scientific Visualisation
• Contemporary Art and Animation
• Architecture and Animation
• Drawing and Animation
• Web Animation
• Narrative and Non-Narrative Animation
• Obsolescence and Questions of Materiality
• Augmented Reality and Vision
• Automata (including Robotics)
• Animation and Pedagogy
• Documentary and Animation
• Animation Fringes and Counter-Cultures
• Sound and Animation
Please include with your individual submission the following:
• Title and abstract of no more than 250 words (suitable for publication).
• A brief biographical statement (suitable for publication).
• Complete contact information, including name, institutional affiliation (if any), postal address, e-mail address and telephone number.
• A head shot photo of yourself that will be suitable for publication (optional).
For panel proposals of 3-4 presenters, the chair of the panel should submit the following:
• Overall panel title/theme, plus a 100-word description suitable for publication.
• Name and contact information for the panel chair.
• Titles and abstracts for each paper (as noted above).
• Biography statement for each member (as noted above).
• Name and contact information for each member (as noted above).
• Photo of each presenter suitable for publication (optional).
|Image from Pontypool (Bruce McDonald, 2009) Read Adam Nayman‘s essay on this ‘semiotic zombie film’ at ReverseShot, as well as Steen Christiansen’s article linked to below.|
Film Studies For Free has been somewhat stopped in its tracks by an unseasonal cold. But, sustained by its usual missionary zeal for Open Access film and moving image studies, it rises zombie-like (see above) from its sick bed to bring you news of the latest issue of excellent online journal Cinephile (Vol. 6 No. 2 Fall 2010) on ‘Horror Ad-Nauseam’ (note: link to a very large PDF file, as are all the links below).
Normal FSFF service will resume on Thursday…
- ‘The Bad Seed and The Girl Next Door: Integrating Cultural Trauma through Horror’s Children’ by Gregory Vance Smith
- ‘A Mother’s Curse: Reassigning Blame in Hideo Nakata’s Ringu and Gore Verbinski’s The Ring‘ by Lindsey Scott
- ‘Beyond the Guillotine: Theorizing the New Extremism in Contemporary French Cinema’ by Caroline Verner
|Image from Avalon (Mamoru Oshii, 2001)|
Below are links to some of the most interesting items to have come Film Studies For Free‘s way in the last weeks: a special issue of the high quality online, Open Access journal Digital Icons: Studies in Russian, Eurasian, and Central European New Media on War, Conflict and Commemoration. Not all of the items are film-related, though most are, in some way (asbtracts are included for easy skimming to see which). And there are two great essays on Mamoru Oshii‘s 2001 film Avalon, which FSFF particularly rated.
Issue 4, 2010: War, Conflict and Commemoration in the Age of Digital Reproduction (guest-edited by Adi Kuntsman (University of Manchester).)
This opening essay addresses the political and intellectual necessity that enabled me to assemble this special issue. Firstly, I argue for the need to examine the role of digital media in negotiating and commemorating wars in countries outside of the USA and Western Europe and in languages other than English. Secondly, drawing on some recent developments in research on digital media, on one hand, and war, conflict and commemoration, on the other, I claim the importance of examining the two fields together. I argue for a complex approach that would capture the ways digital media and computer technologies affect the warfare itself, its social perception as well as the ways of remembrance and commemoration. I also present several theoretical concepts – cyberscapes of memory, digital battlefields, the aftermath, passionate politics and the cybertouch of war – and outline the structure of the special issue.
An integral part of the German National Socialist ‘bio-political developmental dictatorship’ programme (Schmuhl 2008), ‘euthanasia’ involved the murder of over 300,000 physically or mentally disabled persons in National Socialist Germany and its occupied territories, including children in ‘special children’s wards’ (Kinderfachabteilungen). Using the concept of traumascape as past trauma embodied at a site and brought into the present through commemoration, this article analyses the emergence of virtual traumascapes created by local memory agents who use new digital media as a means to represent these crimes and commemorate the victims of ‘special children’s wards’ in Germany, Austria, Poland and the Czech Republic. This article shows that virtual traumascapes have contributed to a diverse landscape of memory concerning the murder of disabled children and youths described in five case studies. It also briefly discusses their impact on national memory regimes and the future of commemoration.
The Internet seems to have become the area where instances of individual and collective remembrance, of private and public commemoration, and of memory and postmemory intersect in a new and effective way. This article explores two Polish examples of World War II and Holocaust commemoration that have recently been issued on Facebook: the Warsaw Rising commemorative campaign and the educational project on the young Holocaust victim Henio Zytomirski. As the analysis demonstrates, what determines the value of such online projects is their performative effectiveness. The examination of both examples aims to contribute to the current debate on cultural memory, in which the focus is increasingly on the dynamical and processual character of remembering, rather than on memory as a static product.
In Russia, for decades, the collective memory of World War II has served two major functions. It has provided the major source of legitimatising the state and the ethical ground for sustaining the collective identity of those whose country now is very different from the one defended by their grandparents. Along with the state-imposed versions of the war and tired rituals and clichéd expressions of pride and gratitude, new ways of reflecting on the war began emerging. These are facilitated by new socio-technical practices made possible by globalisation and, in particular, by the Internet. Based on an analysis of selected Russian-language blogs, this article argues that although the nationalistic master narratives continue to function as glue for the nation, they become combined with stories and recollections that are attuned to the growing openness and interconnectedness of the world, problematising exclusionary renderings of the country’s contribution to the victory.
Mamoru Oshii’s Avalon stands firmly engrained in the director’s science fiction oeuvre of completely visually controlled films, focusing on a strong female protagonist shown in critical situations. At the same time the film marks Oshii’s return to live action cinema and takes him outside of Asia. This essay seeks to combine biographical information on the director with an aesthetic analysis of some of the images created for the purpose of this film. In particular the essay addresses Oshii’s interests in the relations between futuristic technologies and militarised societies, and his use of Polish and Eastern European imagery. I will argue that their combination can be seen as remediating and recontextualising images of war and conflict for a new generation that, through digital media, has developed a new dynamic relationship with history and the conflicts that build Europe and the world.
This essay takes Mamoru Oshii’s Avalon (2001) as a starting point for consideration of the impact of simulational interactive media on contemporary technoculture. The connections made in the film between virtual reality games and military research and development, and its quasi-simulational modelling of various historical ‘Polands’ in re-sequencing a dystopian end of history are the most valuable resources it brings to this study of how simulation’s predominant development represents a major challenge to the forms of critical cultural reflection associated with narrative-based forms of recording and interrogating experience. Analysis of the methods and rhetorics of simulation design in the military-industrial (and now military-entertainment) complex will elaborate the nature and stakes of this challenge for today’s globalising technoculture of ‘militainment’.
The Weight of Meaninglessness is a video performance that evokes the atrocities of the recent Bosnian history in an effort to highlight the ethical urgencies, complexities and paradoxes of externalising trauma within a site that collapses meaning and creates possibilities for the return of traumatic memory. The performance shows the artist violently and continuously scrubbing clean her permanently marked arm, withstanding bodily pain and struggling to breathe. The video also confronts the viewer with Srebrenica Genocide; the images of mass graves render the memory of the atrocity traumatising in its insufferable intensity. In the moment of examining trauma and locating its agency, the artist lays bare the paradox of violent memories that can only be externalised through inflicting violence on oneself. The artist’s essay addresses the historical and ideological conditions under which The Weight of Meaninglessness critiques and exercises violence.
The recent war in Bosnia-Herzegovina serves as an undercurrent in this short ethnographic film Roma Snapshots: a Day in Sarajevo. The film attempts to enquire into Sarajevan Roma’s sense of identification, belonging and memory. It portrays the daily lives of Roma through snapshots of their concurrent realities, where painful memories, laughter and religious beliefs exist side by side. The film comprises of simultaneous screening of four episodes, drawing attention to the filmmaker’s dilemma of how to best represent her subjects and which aspects of their lives to highlight. The film addresses visual anthropology’s concerns regarding ways of portraying reality and challenges the standard narrative approach to documentary filmmaking. Roma Snapshots: a Day in Sarajevo is accompanied by the filmmaker’s reflexive essay on anthropological filmmaking, digital media and life in post-war zones.
This article analyses various cyber conflicts and cyber crime incidents attributed to Russian hackers, such as the Estonian and Georgian cyber conflicts and the ‘Climategate hack’. The article argues that Russian hackers were blamed by dozens of outlets for the Climategate hack, because that was consistent with global media coverage of cyber crime incidents which portrayed Russians as highly powerful hackers responsible for many hacking incidents. This narrative also was congruent with the new Cold War rhetoric that consistently takes issue with Russia acting on its geopolitical interests. These interests are seen to manifest themselves in Russia’s objection to countries, formerly under its influence, participating in the NATO alliance and its seemingly obstructive stance at the Copenhagen summit on climate change.
This study investigates one such case study – the outburst of anti-Americanism among Russia Internet users during the Russia-Georgia military crisis of 2008. The paper analyzes the discussions of Washington Post articles at the Washington PostForeign Media Russian Internet site. The study shows that, despite numerous attempts by Russian users to deliver their messages to the American readers, their postings were ignored by the American users and global dialogue did not occur. It is this exclusion from the conversation, together with the denigration of Russia by writers in the United States that led to the intensification of anti-American sentiments among the Russians. The study makes clear that for the establishment of effective global public spheres access to new communication technologies and knowledge of English are inadequate, unless accompanied by the willingness to listen to others and a desire to understand them.
Web Wars: Digital Diasporas and the Language of Memory in Russia & Ukraine is a three-year research project within the collaborative HERA-funded project Memory at War: Cultural Dynamics in Russia, Poland & Ukraine. Led by Dr Alexander Etkind (Cambridge University), this project zeroes in on the ongoing memory wars between Russia, Ukraine, and Poland – nations where political conflicts take the shape of heated debates about the recent past. For Memory at War, five European universities – Cambridge, Helsinki, Tartu, Groningen and Bergen – cooperate to scrutinize Eastern Europe’s memory wars from varying angles. Web Wars is the Bergen pendant, which focuses on their outlines in digital media, and Russian and Ukrainian social media in particular. This submission maps the project design, methods and research objectives.
4.12 Book Reviews
|Image from Ohayo/Good Morning (part of Ani*Kuri15) (Satoshi Kon, 2008) See the video embedded below|
[…] Kon fully takes advantage of what makes animated films unique. [His film Paprika (2006)] is ultimately a dream about movies, as well as a movie about dreams. The way characters jump in and out of settings first made me think of Buster Keaton’s Sherlock Jr., perhaps the original virtual reality movie. One can also easily link Paprika to such films as David Cronenberg’s eXistenZ. In another moment that may be a nod to Cronenberg, two of the characters jump into a television screen. Because this is a truly animated film, Kon creates a universe where a long office hallway and walls suddenly undulate with the solidity of a half-filled waterbed, characters in advertisements leap out into other billboards or out into the streets, and giant toy dolls threaten the planet.
It is the dense and detailed imagery that makes Paprika stand out. Frames are crowded with giant marching frogs, large appliances and living dolls. The goofy spirit of the film is close to the self-refererential work of the Fleischer Brothers‘ earlier work with Koko the Clown and Betty Boop. The story loops around itself like a mobius strip, with dreams and dreams within dreams.
Paprika, the character, dreams of a street where there are old fashion movie theaters, one of which shows Roman Holiday. Kon even has a character going to a multiplex that is showing nothing but Kon’s previous features on each of the screens. Movies have informed Kon’s films, so that Perfect Blue is an anime thriller that has reminders of Hitchcock, De Palma and Argento. Tokyo Godfathers, with both its plot about an abandoned baby and Christmas setting could well have been inspired by John Ford’s Three Godfathers. While Kon has not cited specific films as influences on Paprika, he did agree with the observation that his new film was “like a collision of Hello Kitty and Philip K.Dick.” [Peter Nellhaus, ‘Aurora (Colorado) Asian Film Festival, Part 3’, Coffee coffee and more coffee, June 3, 2007]
Film Studies For Free was very sad to hear of the untimely death at the age of 46 of Japanese anime auteur Satoshi Kon. Paprika, the film Peter Nellhaus is referring to above, a complex and densely entertaining oneiric thriller, was one of FSFF‘s author’s favourite animated films of recent years.
Kon directed his first film, Perfect Blue, in 1997, followed by Millennium Actress, Tokyo Godfathers, Paprika, and the television series Paranoia Agent. A fifth film, The Dream Machine, is still in production at the time of his death.
Some great memorial linkage about Kon has been posted in the last few days by David Hudson. But there are not too many online scholarly studies of Kon’s work yet, sadly, though FSFF is sure that will change. For now, then, here are some links to the very worthwhile resources and discussions that have been made freely accessible.
- Brendon Bouzard, John Lichman, and Keith Uhlich, ‘”He’s the Internet”: A Conversation on Satoshi Kon’, The House Next Door Online, June 27, 2008
- Noel Kirkpatrick, ‘“Then I’ll show you that starry, starry sky, like I promised I would.”’, Media Milieus, August 24, 2010
- Alexander Kirst, ‘Anchors Aweigh: The Aesthetic of Surface in the Films of Kon Satoshi’, Honours Thesis, Wesleyan University, 2008
- Martin Lewis, ‘Two Tastes of Paprika: Yasutaka Tsutsui’s novel (trans. Andrew Driver), and Satoshi Kon’s anime’, Strange Horizons, July 2009
- Meg Rickards , ‘Screening Interiority: Drawing on the Animated Dreams of Satoshi Kon’s Perfect Blue’, IM 2: 2006
- Thomas Lamarre, ‘Platonic Sex: Perversion and Shôjo Anime (Part One)’, Animation 2006; 1; 45
- Annie Manion, ‘Discovering Japan: Anime and Learning Japanese Culture’, A Master’s Thesis Submitted to the East Asian Studies Center, USC
- Caroline Ruddell, ‘Breaking Boundaries The Representation of Split Identity in Anime’, Animation Studies – Vol.2, 2007
- Mickey Mouse and Animation Links, Film Studies For Free, November 18, 2008
- On Japanese Cinema, Film Studies For Free, July 27, 2010
- ‘Imaginary and Fantastic’: Hayao Miyazaki Studies, Film Studies For Free, November 23, 2009
Film Studies For Free wanted to make sure its readers didn’t miss the video embedded above. It’s another great offering from Fora.tv, this time a very entertaining and informative interview with Donald Richie about his internationally celebrated work on Japanese cinema and culture. FSFF heard of this via David Hudson and the Japan Society Film Blog.
In addition, FSFF has assembled some links below to openly accessible and very high quality scholarship on Japanese cinema (including numerous full-length studies), with work by Donald Richie, and many other excellent items which are indebted to his studies of Japanese cinema.
This was quite a broad category to research online, so FSFF will inevitably have missed some good resources: suggestions for any high quality additions are, therefore, even more welcome than usual! (Update: See comments below for some of these, including the tip to link to Eigagogo’s bookmarks at Delicious which lists some further great resources).
- Sarah M. Ball, The Uncanny in Japanese and American Horror Film: Hideo Nakata’s Ringu and Gore Verbinski’s Ring, MA thesis, North Carolina State University, 2006
- Colette Balmain, ‘Inside the Well of Loneliness: Towards a Definition of the Japanese Horror Film’, Electronic Journal of Contemporary Japanese Studies, Discussion Papers, 2006
- Colette Balmain, ‘“Vengeful Virgins in White”: Female Monstrosity in Asian Cinema’, in Niall Scott (ed), Monsters and the Monstrous: Myths and Metaphors of Enduring Evil (Oxford: Inter-Disciplinary Press, 2004) [scroll down through pdf to p. 123]
- David Bordwell, ‘Review of Noël Burch’s “To the Distant Observer”‘, Wide Angle vol. 3, no. 4 (1980): 70–73
- Mio Bryce, Christie Barber, James Kelly, Siris Kunwar and Amy Plumb, ‘Manga and Anime: Fluidity and Hybridity in Global Imagery’, Electronic Journal of Contemporary Japanese Studies, 2010
- Noël Burch, To the Distant Observer: Form and Meaning in the Japanese Cinema (London : Scholar Press, 1979)
- Ryan Cooke, ‘Review of Jay McRoy, Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam and New York: Editions Rodopi B.V., 2008′, Screening the Past,Issue 23, 2008
- Christopher J. Coyne, ‘Culture, Common Knowledge and Post-Conflict Reconstruction’, Journal of Intercultural Communication, No 13 (2007)
- Darrell William Davis, Saving Face: Spectator and Spectacle in Japanese Theatre and Film (LEWI Working Paper Series/David C. Lam Institute for East-West Studies, October 2004)
- Darrell William Davis, ‘Reigniting Japanese Tradition with Hana-Bi’, Cinema Journal 40, No. 4, Summer 2001
- Rayna Denison, ‘On Susan J. Napier’s From Impressionism to Anime: Japan as Fantasy and Fan Cult in the Mind of the West’, Participations, Volume 6, Issue 2 (November 2009)
- Freda Freiberg, ‘The Unkindest Cut of All? Some Reflections on the Recent Cinematic Release of the Uncut Version of Nagisa Oshima’s Ai no corrida’, Senses of Cinema, Issue 12, Feb-Mar 2001
- New Jinshi Fujii, ‘Films That Do Culture : A Discursive Analysis of Bunka Eiga, 1935-1945’, Iconics 6, Japan Society of Image Arts and Sciences, 2002
- New Hideaki Fujiki, ‘Dual Persona : Onoe Matsunosuke as Japan’s Early Cinema Star’, Iconics 7, Japan Society of Image Arts and Sciences, 2004
- Aaron Gerow, ‘One print in the age of mechanical reproduction: film industry and culture in 1910s Japan’, Screening the Past, 2000 (11), 11 January 2000
- New Aaron Gerow, ‘The Benshi’s New Face : Defining Cinema in Taisho Japan’, Iconics 3, Japan Society of Image Arts and Sciences, 1994
- Andrew Grossman, ‘Gohatto-or the End of Oshima Nagisa?’, Bright Lights Film Journal, Issue 33, 2001 July
- New Masato Hase, ‘Cinemaphobia in Taisho Japan : Zigomar, delinquent boys and somnambulism’, Iconics 4, Japan Society of Image Arts and Sciences, 1998
- New Kyoko Hirano, ‘The Banning of Japanese Period Films by the American Occupation,’ Iconics 1, Japan Society of Image Arts and Sciences, 1987
- Lori Hitchcock, ‘Third Culture Kids: A Bakhtinian Analysis of Language and Multiculturalism in Swallowtail Butterfly’, Scope, February 2004
- Hikari Hori, ‘Representing a Woman’s Story: Explicit Film and the Efficacy of Censorship in Japan’, Sarai Reader 2005: Bare Acts
- Yuwen Hsiung, ‘Kurosawa’s Throne of Blood and East Asia’s Macbeth’, CLCWeb: Comparative Literature and Culture 6.1 (2004)
- Lee Wood Hung, ‘Natural Culturalism in The Ballad of Narayama: A Study of Shohei Imamura’s Thematic Concerns’, Asian Cinema, Spring/Summer 2003
- Timothy Iles, ‘Are We There Yet? Travelling Toward the Self in Contemporary Japanese Cinema’, Electronic Journal of Contemporary Japanese Studies, 2007
- Mizuko Ito, ‘The Gender Dynamics of the Japanese Media Mix’, A position paper prepared for the workshop and conference on Girls ‘n’ Games, May 8-9, University of California, Los Angeles, 2006
- New Kenji Iwamoto, ‘Film Criticism and the Study of Cinema in Japan：A Historical Study’, Iconics 1, Japan Society of Image Arts and Sciences, 1987
- Brian Jarvis, ‘Anamorphic allegory in The Ring, or, seven ways of looking at a horror video’, The Irish Journal of Gothic and Horror Studies, 3, 2007
- Lei Jin, ‘Silence and Sound in Kurosawa’s Throne of Blood’, CLCWeb: Comparative Literature and Culture 6.1 (2004)
- Chika Kinoshita, ‘”Choreography of desire: analysing Kinuyo Tanaka’s acting in Mizoguchi’s films’, Screening the Past, Issue 13, 2001
- New Futoshi Koga, ‘A Review of Pornographic Images in the 1970s in Japan: Centered Around Nikkatu Roman Porno Film”‘, Iconics 2, Japan Society of Image Arts and Sciences, 1992
- Colleen A. Laird, ‘Japanese cinema, the classroom, and Swallowtail Butterfly’, Jump Cut, No. 52, Summer 2010
- Annie Manion, ‘Discovering Japan: Anime and Learning Japanese Culture’, A Master’s Thesis Submitted to the East Asian Studies Center, USC
- Dolores Martinez, ‘Where the human heart goes astray: Rashomon, Boomtown and subjective experience’, Film Studies, Issue 11, Winter 2007
- Yuji Matson, The Word and The Image: Collaborations between Abe Kôbô and Teshigahara Hiroshi, Masters Thesis, University of Victoria, 2007
- Bonnie Melchior, ‘King Lear and Ran: Identity Translated and Transformed’, East-West Connections: Review of Asian Studies Volume 5, Number 1 (2005) [scroll to p. 41 in PDF]
- New Kiseko Minaguchi, ‘Yamamoto Satsuo’s Haha no kyoku (Mother’s Melody) : Making a Father’s Story of Stella Dallas’, Iconics 6, Japan Society of Image Arts and Sciences, 2002
- Gary Morris, ‘The Spirit Moves: The World of Kenji Mizoguchi’, Bright Lights Film Journal, Issue 22, 1999
- New Hisashi Nada, ‘An Aspect of the Reception of Avant Garde Films in Japan’, Iconics 2, Japan Society of Image Arts and Sciences, 1992
- New Hisashi Nada, ‘The Little Cinema Movement in the 1920s and the Introduction of Avant-Garde Cinema in Japan’, Iconics 3, Japan Society of Image Arts and Sciences, 1994
- Lindsay Nelson, ‘Ghosts of the Past, Ghosts of the Future: Monsters, Children, and Contemporary Japanese Horror Cinema’, Cinemascope, Issue 13, July-December 2009
- Eimi Ozawa , ‘Remaking Corporeality and Spatiality: U.S. Adaptations of Japanese Horror Films, 49th Parallel, Conference Special Edition, Autumn 2006
- Chris Payne, ‘Burying the Past: Nihonjinron and the Representation of Japanese Society in Itami’s The Funeral’, Graduate Journal of Asia-Pacific Studies, 1: 1 (2003), 13-20
- Michael Francis Phillips, ‘A Cinematic Challenge to Modernity Critical Theory in Postwar Japanese Cinema: An Introduction to Fukasaku Kinji’, eCommons@Texas State University, May 2009
- Donald Richie, Japanese Cinema: Film Style and National Character (New York: Anchor Books, 1961; Michigan Electronic Reprint 2004)
- Donald Richie, ‘Expressionism in Film’, Tokyo – Berlin / Berlin – Tokyo Exhibition Catalogue, Mori Art Museum, 2006
- Donald Richie, ‘The Daughter of the Samurai: a German-Japanese co-production’, Tokyo – Berlin / Berlin – Tokyo Exhibition Catalogue, Mori Art Museum, 2006
- Donald Richie, writer and film critic, Conversations With History: “Writing, Film, and Japan: An Expatriate’s View,” 9/21/01
- Juneko J. Robinson , ‘Review: Jay McRoy (2007) Nightmare Japan: Contemporary Japanese Horror Cinema. Amsterdam: Rodopi’, Film-Philosophy, 14.1, 2010
- Caroline Ruddell, ‘Breaking Boundaries The Representation of Split Identity in Anime’, Animation Studies – Vol.2, 2007
- Donato Totaro, ‘Tokyo Sonata: Flirting with the Fantastic: Kiyoshi Kurosawa, 2008’, Offscreen Journal,Vol . 13, Issue 5, 2009
- William Tsutsui, ‘Godzilla And Postwar Japan’, East-West Connections: Review of Asian Studies Volume 5, Number 1 (2005) [Scroll to p. 1 in PDF]
- Paul Waley, ‘Re-scripting the city: Tokyo from ugly duckling to cool cat’, Japan Forum 18(3) 2006: 361–380
- Gregory A. Walle, Narrating the new Japan: Biograph’s The Hero of Liao-Yang (1904) Screen 2006 47: 43-65
- Craig Watts, ‘Blood Spear, Mt. Fuji: Uchida Tomu’s Conflicted Comeback from Manchuria’, Bright Lights Film Journal, Issue 33, July 2001